Titus AndronicusA Productive Cough

Since debuting in 2008, Titus Andronicus [hereafter +@] has been conditioning faithful listeners to always expect only the unexpected, consistently
zigging where others would zag and maintaining a steadfast dedication to fearless ambition. With the release of the new studio album A Productive Cough on Merge Records, +@ has executed the most shocking departure yet—but only if, as ever mercurial singer-songwriter Patrick Stickles insists,
“you haven’t been paying attention.”

In a move that may infuriate the black-denim-and-PBR set, A Productive Cough finds +@ setting aside the leadfooted punk anthems of yesteryear in favor
of a subtler, more spacious approach that pushes Stickles’ soul-baring songwriting to the fore, creating a conversational intimacy between artist
and audience with which previous +@ efforts had only flirted. “[+@] records have always had their fair share of ballads,” Stickles explains, “but
they were always buried amidst a lot of screaming. Now, they are the cornerstones. Punk rock is nice, but it is but one tool in the toolbox from
which I pull to achieve my artistic purpose, and that purpose has always been communication and validation. This time, perhaps I can more effectively
talk to the people if I am not so busy yelling at them.”

The mission of A Productive Cough is made apparent from the first bars of opening track “Number One (In New York).” As a twinkling tableau of
piano and dulcet horns unfolds, Stickles unleashes a breathless and unceasing 64-bar verse with subject matter as sprawling as the kitchen-sink
arrangement, which grows to include sparkling guitars, twinkling bells, and uplifting choral vocals as Stickles searches desperately for the strength
to carry on through an increasingly violent and frightening world. This new restraint sacrifices none of +@’s singular intensity, from the merciless
lyrical onslaught of “Number One (In New York)” to the blistering guitar solos which accompany the swaggering (Crazy) Horseplay of rock band workouts
“Real Talk” and “Home Alone” to the disarmingly passionate commuter hymn “Mass Transit Madness (Goin’ Loco’).” Even the surprisingly groovy “Above
the Bodega (Local Business)” hides, beneath its loose and spontaneous facade of zesty brass and propulsive congas, a pained admission of secret
shame, despairing the challenge of keeping the dark side concealed before the ever-judgmental eye of the big city. Across the record’s seven tracks,
+@ remains as audacious as ever, a fact demonstrated with particular defiance by “(I’m) Like a Rolling Stone,” which, through some considerate
flipping of pronouns, reimagines Bob Dylan’s evergreen anthem as a self-eviscerating confessional, a chilling reminder that when you point the
finger, three more fingers point back at you. A Productive Cough was recorded by longtime +@ producer Kevin McMahon at Marcata Recording in New
Paltz, NY, with an enviable cast of 21 elite musicians whose diverse backgrounds and skill sets allow +@ to incorporate far-reaching musical styles
from country to rap to soul to jazz. Even amongst such luminaries as veteran pianist Rick Steph (Cat Power, Lucero, Hank Williams Jr.) and esteemed
cellist Jane Scarpantoni (R.E.M., Bob Mould, Lou Reed), listeners may be most struck by what is sure to be a star-making turn on lead vocals from
Brooklyn singer Megg Farrell for the aging-punk’s lament “Crass Tattoo,” as the perennially raspy Stickles humbly steps away from the microphone
to enable what may be +@’s most unapologetically gorgeous track yet.

Throughout, Stickles and McMahon weave a dense, luscious tapestry of sound that will generously reward dedicated listeners, revealing new layers with
each successive spin. For the first time, the orchestral flourishes and glistening details that have always colored +@ records are unobscured by
walls of distortion, beckoning the listener further and further inward, until ...

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